FORM & ESSENCE
Where portraiture dissolves into abstraction — original works that interrogate identity, memory, and the painted surface.
Dissolution No. 7
Acrylics and Cold Wax on Belgian Linen · 120 × 160 cm (47 × 63 in) · 2026
The seventh work in the ongoing Dissolution series. Built across forty-three sessions, the surface accumulates layers of acrylics and cold wax that are scraped, incised, and re-applied — a physical record of the painting's own evolution.
The figure emerges and retreats within a field of warm earth tones, suggesting presence without resolution. Acquired collectors describe it as "a painting that changes with the light."
$14,800 USD
Includes certificate of authenticity, artist documentation, and white-glove shipping.
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Four ongoing bodies of work, each exploring a distinct tension between figuration and abstraction, presence and erasure.
Nairobi,Kenya
Studio Est. 2014
Paint
Thinks
"I do not begin with an image in mind. I begin with a gesture, a pressure, a decision about where paint wants to go. The subject arrives through the process — not before it."
My practice sits at the intersection of disciplined observation and intuitive mark-making. Each work begins with extended periods of looking — at faces, at spaces, at light — before a single brushstroke is made. What follows is a negotiation between intention and accident.
The studio process is slow by design. Works are built across weeks or months, accumulating and shedding layers until the surface holds both the history of its making and the coherence of a singular vision.
12+
Years Practice
180+
Works Completed
34
Exhibitions
How Work
Is Made
A four-stage practice that values slowness, material honesty, and the accumulated intelligence of the painted surface.
Extended Observation
Every work begins with sustained looking — live sittings, spatial studies, or material experiments. This phase can last days or weeks before any paint is mixed. The observation is the first act of painting.
Surface Preparation
Linen is stretched, primed, and toned by hand. For cold-wax works, the ground receives multiple preparation layers. The surface is an active participant — its texture and absorbency shape every mark that follows.
Layered Construction
Paintings are built through accumulation and removal. Acrylics and cold wax are applied, scraped, incised, and glazed across multiple sessions. No work is considered complete until the surface holds the full record of its making.
Resolution & Release
A work is released when it has reached a state of productive ambiguity — when it communicates something specific while remaining open to interpretation. Documentation, varnishing, and collector handoff follow a strict archival protocol.